Oh, the places you'll go at a Pilobolus show! For 42 years, the company has been transporting us to zany and magical worlds, and its performance Sunday evening at The Egg was a welcome reminder they're still innovating.

Founded in 1971 by a group of Dartmouth College students, Pilobolus has always prioritized collaboration. Sunday's program listed at least six (and often many more) creators for each piece, and several of the works featured elements contributed by artists recruited through the company's International Collaborators Project.

"All is Not Lost," from 2011, the live companion to a video work made with the Grammy-winning band OK Go, revolves around a brilliant gimmick that requires an elaborate setup: A camera set in the floor captures images of the dancers as they move on a glass surface above, and then projects them onto a screen at the other side of the stage. We see them slide, roll and climb across the surface in physically demanding, perfectly timed sequences; on the screen, however, they seem to float and fly in a magnified, gravity-free environment.

Last year's "Automaton" experiments with a similar concept. Four mirrored surfaces — three portable panels and a large backdrop — give us multiple, kaleidoscopic views of the action. At first, the six dancers function like parts of a machine, all angles and stuttering steps, but gradually they become more and more human, until they're moving in the organic, intertwining style that has distinguished Pilobolus for so long.

That style was on view in its essential form in "Gnomen," from 1997, which begins as four men (Shawn Fitzgerald Ahern, Benjamin Coalter, Matt Del Rosario and Jun Kuribayashi) roll onstage in a single multi-limbed bolus. They never really disconnect throughout the piece, as they lift, catch and balance on each other. It's a display of power and strength, but also tenderness and camaraderie.

"The Transformation," from 2009, made with "SpongeBob SquarePants" writer Steven Banks, employs the lowest-tech special effect of all: shadow play. An enormous godlike hand (belonging to Eriko Jimbo) encounters a human (Nile Russell, in silhouette), with clever and surprising results.

"Rushes," a collaboration between Pilobolus members and the Israeli choreographer Inbal Pinto, is equally wacky and whimsical, weaving acrobatics, clowning, video and a wildly diverse score.

Interspersed between the dances were short videos that mixed and manipulated images (traffic, birds, plants) to underscore the values and themes by which Pilobolus lives: interconnection, growth, change and the unending beauty and capacity of nature and the human body.